That night, Heidi's landlord, Lacy ( Judy Geeson), insists that Heidi split a bottle of wine with her and her sisters, Sonny ( Dee Wallace) and Megan ( Patricia Quinn). After the show is over, Matthias tells his wife ( María Conchita Alonso) that the band's name, The Lords, bothers him. The station then plays the Lords' record, which causes all of the women in Salem (other than Heidi) to enter a trance.

The next day, Heidi interviews Francis Matthias ( Bruce Davison), who has written a book about the Salem witch trials. The vision stops once Whitey turns the record off. Heidi has a vision of women who worship Satan, at an unspecified time in the past, ritually birthing a baby then damning the child. At her apartment, she and Whitey listen to the record, which is a series of string and woodwind instruments playing several notes, then repeating itself. She receives a strange wooden box containing an album by a band named The Lords. On the bright side, the 24-page, Zombie art-directed CD booklet sports enough images of monsters, robots, depraved-looking Devil’s Rejects-type freaks-as portrayed by Zombie’s accommodating bandmates John 5, Piggy D, and Tommy C-and scantily clad cartoon hotties-in-peril to keep any self-respecting sleaze-film fanatic interested for at least a minute or two.In Salem, Massachusetts, Heidi ( Sheri Moon Zombie), a recovering drug addict, works as a DJ at a hard rock station with her co-workers Whitey ( Jeff Daniel Phillips) and Munster ( Ken Foree). It boasts a Dick Dale-type surf-gone-wild guitar solo similar to that on Tarantino’s Pulp Fiction hit, “Miserlou”, but such exhilarating moments are rare on HD2, which ends on a decidedly lame note with “The Man Who Laughs”, incorporating a schlocky string arrangement and, for no good reason, a four-minute drum solo. The Zombieman scores points for including a song called “Werewolf Women of the SS”, which was also the title of the fake-movie trailer he made for the “intermission” during Quentin Tarantino’s exploitation double-bill of 2007, Grindhouse. Not that there’s anything wrong with that. And it seems as if the only reason Zombie wrote “Sick Bubble Gum” was so he could repeatedly chant “Rock motherfucker, rock the motherfucker, rock motherfucker yeah.” And it doesn’t help that he still can’t sing worth beans.Īs a song title, “Mars Needs Women” is enough to brighten the heart of any B-movie fanatic, but the tune itself is bogged down by ponderous power chords and a tedious chorus.

While his first post-White Zombie release featured catchy tracks like “Dragula” and “Living Dead Girl”, this latest batch of tunes is fairly lacking in memorable licks and hooks. On Hellbilly Deluxe 2, hard-rocking horror auteur Rob Zombie combines his love of low-budget fright flicks and grinding metal the same way he did on his debut solo album, 1998’s Hellbilly Deluxe. ORIGINALLY PUBLISHED IN THE GEORGIA STRAIGHT, FEB.

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